The Zero Theorem (A formal review)

   The Zero Theorem while clearly reminiscent of any of Gilliam's other dystopian fantasy is given by a future following a solitary, almost hermit, living in an otherwise hyper voyeuristic/big brotherish, stimulus driven technological society.  While at times paralleled if not having some montage to other science fiction classics in like kind, see Minority Report, Gilliam's vision at once makes use of any familiar conjurations.  For instance, an exaggerated and nightmarish, game console driven workplace that were the Google campus evil twin, only make for greater plea by the movie's protagonist in filing disability claim, at least in so far as being able to live a desired silent and reclusive life.   Other metaphor's coming to mind, Tarkovsky's Nostaglia are among any number of overt symbols with respect to Quohen's last place of spiritual refuge.  On the other hand, if given to the nod, juxtaposition of symbols are also very surface in nature, and perhaps, where one should wonder outside of a world filled with many of Gilliam's common use of visual themes, especially where other directors may have taken some inspiration, or if reciprocal in nature, see Delicatessen (Jean-Pierre Jeunet)  , it seems much as in fashion of higher budget films,  overly wrought by virtue of visual play, and then given to much use of the common theme, whether Management were both part of the Quohen's imagination, and likewise given by the surrogate use of a religious spiritual leader, it seems the ending poorly conveyed this, if one weren't left deciding that purely Quohen alone conceived of himself as though having been a downtrodden and further dis spirited spiritual mystic and messiah alike only given to waiting for his answer in life...or resident to some hypothesis that the real Christ like figure suffers immensely from existential crisis and a simultaneous belief that any proof one should wonder were given to a single awaited phone call providing revelations.  Although I am not certain where the real life Quohen dwells on these matters, never explicitly raised in evangelistic quarters even if having some remote connection to America and supposedly spiritualism.    Quohen is given to seeing purely the decay and suffering of everything (see an errant post or two about Hawking s A History of Time), and having the least imagination for making space for else in such world.  All of it seems, too short in some narrative, and as usually resident given to somewhat formulaic use of character, only the prostitute Mary Magdalene is rejected, and this is where Gilliam somehow seem no longer Gilliam at least in essence.  If given to much sympathy for the lead protagonist in The Fisher King, Gilliam seems as much iconoclastic as non longer driven to loving the humanity of Quohen at all as much as leaving a veneer of a vision with a rendition of  Radiohead's 'Creep', and at this providing one should wonder a bit of ambiguity.  Clearly Quohen the product of his times, where given to imagining what were impressed upon him, and all the more having rejected part of such reality, and what of anything else?   Or as if to say, Quohen a product of his times departs from being understood as being something less, one should imagine potentially...if it weren't the condition of so many phobias having origins in such world owing to the likes of evils of a technocratic society gone awry, it were an added resentment that the character Quohen were much given like driven propagandist commercialism (here you might expect that Rob Lowe could fill you in on much the maligned DirectTV commercial having described Quohen better than most).  The script it seems might be written for a technological hyper obsessive more interested in poor use of character archetypes than anything driven one should wonder in a typified Gilliam manner, even here it seems the protagonist (played then by Christopher Plummer) were more sympathetic even if supposedly tricking souls, because of a previous Faustian compact (or one should wonder another Mancom based corporate perversion in assuaging the common man), into residing in a false heaven or hell, as were the case in Gilliam's Dr. Parnassus.  On the other hand, Gilliam's ploy seems more exactly as it were being exactly the thing that were being satirized, or at least having origins and a career slated at utilizing the coffers of Mancom for such a purpose.  His over use and exaggerations might find in some hyperbolic world, one should even grains of truth before distortions had maligned such intent.  Its hard to know exactly where the Quohens exist (other than a world that evidently resented potentially the likes of Google as one larger entity and at that one should wonder a little more complaining of the at times Big Brother military industrial complex that implored such a script), except supposedly somewhere, and satire it seems could run into so much distaste if it weren't an insult to the very heart of humanity that satire might often be given.  Satire, for instance, seems only to ring hollow in running the lower parts of humanity that much more into the ground on what might sound as merely false notes only obscenely adulterated by investment and money.  The script weren't only hollow in as much as the often times collision found by at times online cyber stalking, one should wonder it should seem that much more a departure for Gilliam, as though the fascists of the world, had him locked in a room with gun to the head saying 'You write and direct this, this way!'

If it weren't that people had obviously given so little interest in the likes of Quohen, the movie and narrative it seems alike might notoriously be remembered in some way, and relativistic moral ism self evident.  Of course, the real life Quohen often be given to the attentions of a police/corporate state, albeit in reality modulating here and there on political whims and air alone.   Departure in the script, reads not really that Quohen were as much an escapist of life as might be imagined, or really having at that so much sacrosanct a space that were any more so relative to anyone else...Readers are sympathetic to quiet homes are they not?  And where deification commenced in such a corporate/police state, its all the more harder in knowing or really in believing, and neither being conceived so much in mind or reality, satire such as this could easily run on thin ice.  Not that it mattered one should imagine, for those with little to lose in stating otherwise.  Quohen isn't right as conceived here, or could be better fitting for the defector supposedly shot down on live television before Rogue's Fahrenheit 451 screened audience, only Gilliam isn't doing any favors in providing a buy.  Doubles I hear in Hollywood could be more commonly made use of, and crucifixion and torture given to more silent matters, as if one needed to hear anything more about yet another redaction of Facebook snuff.  By today's standards the undercurrents of the world merely hint at the supermarket sanitation to be had in defining what clearly the world might seem to be (a yanked television ads, seems to suggest people so hard up for supposedly donating in the sanitary fascist version...I hint that is one reason why the ad could have been pulled?), and on this bit of departure, it seems Gilliam's dystopian is a walk in the park by comparison, and likely quite a bit of exploitation to be had.

Sorry I am not much of a fan of Radiohead honestly.